(A) calligraphy appreciation stippling lines
The stippling lines in calligraphy appreciation have infinite expressive force, which is abstract in itself. The calligraphy image formed by them has no definite meaning, but it should contain all the characteristics of beauty. This puts forward special requirements for the stippling lines of calligraphy. Require a strong sense of quantity, rhythm and three-dimensional sense.
1, sense of strength
The power of stippling lines is one of the elements of line beauty. It is a metaphor, pointing out the sense of power aroused by drawing lines in people's hearts. As early as the Han Dynasty, Cai Yong made a special study on stippling lines in Nine Potential, pointing out that "hiding the head and protecting the tail, the strength lies in the words", "making the pen always walk in stippling" and "making stippling as powerful as possible". It is required that the stippling should be hidden deep in the laurel corner, and what is done will be collected and its power will be obvious. It should be noted that our emphasis on hiding the head and protecting the tail does not mean that we can ignore the midline. The center line pen must take the convergence center, so as to make the stippling lines round and smooth, warm but not soft, and contain strength. But the starting point and ending point of the dotted line are not all hidden in the corner (both large print and small print must hide the front). Calligraphy is often combined with hiding and revealing as needed, especially cursive script. When appreciating calligraphy, we should not only pay attention to the continuity and echo of the beginning and end, but also pay attention to whether the middle part is smooth and light.
2. sense of rhythm
Pay attention to rhythm in calligraphy appreciation. Rhythm originally refers to the regular changes in the height, strength and length of notes in music. Because of the different strength and speed of calligraphy in the process of creation, different forms such as thickness, length and size change regularly alternately, which makes the stippling lines of calligraphy have a sense of rhythm. The strokes of Chinese characters are different in length and size, which further strengthens the rhythm of stippling lines in calligraphy. Generally speaking, regular script (such as seal script, official script and regular script) has a weak sense of rhythm, while running script (running script and cursive script) has a strong sense of rhythm and rich changes.
3, three-dimensional sense
The stereoscopic impression is the result of using the pen in the center. The strokes written in the center are "reflected in the sun, and there is thick ink in the center of the painting, which is just in it. As for the fold, there is no deviation." In this way, the dotted lines can be full, round and round. Therefore, the pens used in the center have always been highly valued. However, we can't find the profile that can be seen everywhere in calligraphy creation. Except for Xiao Zhuan, all other calligraphy styles are inseparable from the side edge. Especially cursive script, as a supplement and foil to the center, wingers can be seen everywhere.
(B) the spatial structure of calligraphy appreciation
On the premise of following the principles of Chinese font and stroke order, the stippling lines of calligraphy cross-combine and divide the space to form the spatial structure of calligraphy. The spatial structure includes three parts: single word structure, whole line circulation and overall layout.
1, single word structure
When appreciating calligraphy, the structure of words should be neat, straight, long and balanced. In this way, on the basis of caring for the truth, we can pay attention to the decay, intricate changes, natural image, danger in peace and interest in danger.
2, the whole line of qi
In calligraphy appreciation works, the characters are connected up and down (or before and after) to form a "linking", which requires up and down and coherent response. Although the static characters such as regular script, official script and seal script are independent, the strokes are broken and connected. Running script, cursive script and other dynamic characters can be word for word, with hairspring traction. In addition, we should also pay attention to the change of size, positive response, contrast between reality and reality, and the resulting sense of rhythm. In this way, the circulation of qi can be natural and coherent, and blood vessels can be unblocked.
3. Overall layout
In calligraphy works, the combination of dots into characters, hyphens into rows and lines into chapters constitutes the cutting of space by dots, thus constructing the overall layout of calligraphy appreciation works. It is required that the density between words and between lines is appropriate, and the white is black; Flat and balanced, positive to each other; Rugged and full of changes. Among them, the static characters such as regular script, official script and seal script are mainly fair and balanced; The dynamic characters such as running script and cursive script are complicated and ups and downs.
(C) the spirit of calligraphy
Spirit refers to the air and brilliance on a person's face. The expression in calligraphy refers to the spirit, style, temperament, interest and interest revealed in lines and their structural combinations. "Spirit comes first, shape comes second, and both can be seen in the ancients." It shows that spirit is higher than "form and quality" (the shape and appearance of stippling lines and their structural layout), and form and quality are the premise and foundation of spiritual existence; Therefore, the essence of calligraphy artistic expression is the overall harmony of stippling lines and their spatial combination. Pursuing the spirit and expressing the spirit of nature will always be the highest realm that calligraphers strive to pursue.
China also spread a lot of calligraphy theory and had a lot of theoretical experience about calligraphy. The development of China's calligraphy also absorbed the essence of music, dance, architecture and other arts. People call calligraphy "silent voice" and "layout on paper".
First, strengthen skills training and improve the level of writing skills. The skills of calligraphy art include using a pen, writing and composing music, which are indispensable. Among them, the use of pen and calligraphy are the most basic modeling factors and means of calligraphy art, and the composition is a skill for the creator of calligraphy beauty to express ideas. Anyone who has defects in these three aspects cannot create a work with healthy aesthetic characteristics. On the contrary, "if you write well and use your pen correctly, you will succeed in a work of art with life and space." If between words, between words, can' look back and look around, Yin and Yang rise and fall, such as trees and branches, giving way to each other like water, falling down in succession', this word is the stream of life, a dance, a movement "(Zong Baihua's" Space Consciousness in Chinese and Western Painting ").
Second, strengthen moral concepts and endow calligraphy works with aesthetic personality charm. Calligraphy is essentially a materialized form of inner feelings and personality cultivation of calligraphy practitioners, which is "smeared" by means of calligraphy artistic creation. As an ancient saying goes, words are like people, and "books are also painted with heart" (Yang Xiong's "Fa Yan"), which is the truth. It can be said that a calligraphy work conveys all kinds of information about the calligrapher's inner world between the lines. Master Hongyi has won the love of the world with his lofty thoughts and ideas. After the baptism and purification of Buddhism, his calligraphy lines are simple and heavy, full of inner beauty. The form of works composed of static modeling and ethereal arrangement makes people feel a supreme sacredness and nobility, which is in sharp contrast with the works written by those who are mercenary and vulgar. No wonder Yang Shoujing said that "high quality means elegant writing." ("Learn from you")
Third, improve knowledge accomplishment and enhance the cultural taste of calligraphy aesthetic creation. "It is not enough to retreat like a mountain. You can understand God only by reading thousands of books." Su Shi's famous saying shows the interest relationship between internal skills and external skills (knowledge cultivation, etc.). Characters in calligraphy art are the bearing and expression of a nation and individual's spirit, thoughts and emotions. The reason why successful calligraphy works have noble aesthetic value and make people happy and beautiful is not only because of the skill of creating stippling characters that conform to people's aesthetic habits (that is, statutes), but more importantly, because of the spiritual connotation in the process of aesthetic creation of calligraphy art given by works outside words. Song Huangshan Valley said, "If you have thousands of books in your chest, if you don't follow the world, the book will rhyme without illness." (Collected Works of the Valley) shows that knowledge is richer than books and has the effect of healing. Wang Ming Bi said, "You have to have a hundred books in your stomach to write well." ("Calligraphy and Painting Biography") It can be seen that learning is rich in books, but it can be vulgar. Shao Meichen of the Qing Dynasty also believed that "in the past, it was the best to get rid of fire in writing and painting", but it was impossible to get rid of fire without learning "(see Painting Farmers). Throughout the history of calligraphy in China for thousands of years, there has never been an illiterate calligrapher. On the contrary, although ancient literati were not good at calligraphy, calligraphy was bookish. Let alone those far-away leading writers in modern literary world, such as Lu Xun, Xie Wuliang and Ye Shengtao, who have no intention of being calligraphers, but their notes are of their own style and can be called masters. Lu Xun's calligraphy is "simple and informal, free and easy with statutes, far exceeding the Song and Tang Dynasties and reaching the Wei and Jin Dynasties, and is treasured by the world" (Preface to Guo Moruo's Luxun Manuscripts). Xie Wuliang's calligraphy is elegant, authentic, natural and full of interest, and the lines between the lines are full of scholarly atmosphere. It transcends the aesthetic context of the times. Even in the information age with changeable thinking, diverse ideas and various schools, it naturally produces irresistible charm. The "popular book style" formed by thousands of devout admirers under their spiritual charm has become one of the main schools that guide the trend of the times.
Fourth, observe the natural customs and sublimate the artistic realm of calligraphy creation. Pan Boying said: "Calligraphers have been immersed in calligraphy all their lives, so he built his immortal life with his skillful calligraphy. The most important thing is that everything he feels, here and there, today and tomorrow, may be' electrocuted' and transferred to a stroke. The calligrapher has accumulated his skills for a long time. Once he realizes this, his calligraphy will suddenly change to another sublimation realm. " ("On China's Calligraphy") Zhang Xushan's cursive script in the Tang Dynasty did not radically cure his skill. "Seeing things, seeing mountains and rivers, birds, animals, insects and fish, flowers, sun, moon and stars, storms, fires, thunder and lightning, song and dance battles, and changes in everything in the world" (Han Yu's Preface to Master Gao Xian) is all in calligraphy. Therefore, Zhang Xu's "Weeds", which is complicated and unpredictable, is famous for its strong artistic appeal. Another villager, Huai Su, a monk who hides the truth, calls himself a cursive samadhi. At first, his calligraphy was diligent, his bald pen was buried, and his plantain Ye Quan was abandoned, which was praised. Nevertheless, its artistic realm is not too high. Later, because I saw Xia Yun floating in the wind, I had an epiphany on the book, and the style of the book became perfect, and I wrote a big grass that was "as touching as a strong man's sword" (Zhu Xushu was out of chapter). In a word, only when the creator of calligraphy beauty returns to nature and puts his emotions and feelings under the pen can he inspire, sublimate the realm, surpass himself and create works with strong vitality and noble aesthetic taste.
Several representatives of the aesthetic realm of calligraphy art;
1, the beauty of peace, simplicity and harmony, this realm, short meeting, fair victory, light balance, combination of rigidity and softness, odd right and wrong, Fiona Fang uses both, fat and thin, well-proportioned flesh and blood, which requires both sides of the contradiction to maintain a reasonable harmony within appropriate limits, so-called gentleness, and then gentlemen can meet. Is a dynamic balance, the so-called neutralization and consistency, can make the formal beauty of calligraphy art get the richest performance. This aesthetic realm creates highly elegant and harmonious works.
2. Simple and natural, this aesthetic realm pursues a simple, innocent, natural and plain atmosphere, which requires the works to be thick and not frivolous, strong and not greasy, simple and not gorgeous, deep and not ostentatious, implicit and not magnificent, and it does not carve things and pretend to be smart, thus presenting a simple, natural, sincere and natural aesthetic realm. They do not deny the role of laws and skills, but they emphasize the absolute freedom obtained by law. They advocate doing nothing without doing anything, and doing nothing without doing anything.
3. Strict statutes This aesthetic realm pursues a rigorous beauty of modeling. This aesthetic realm is that stippling is thoughtful, the structure is firm, the pen is precise, meticulous, ingenious and thoughtful, dignified and symmetrical, taking neatness as the method, winning with skill, skillful and sharp, thus showing a dignified and serious artistic conception.
4. Zhao Mengfu is the representative of this realm in Ya Xiao Kai. This kind of aesthetic newspaper pursues a kind of elegant and swaying, implicit and sloppy female beauty. This aesthetic realm, with its charming and beautiful appearance, is refreshing, elegant, gentle and mellow, which represents the typical southern style of calligraphy. Try to look at Zhao Mengfu's small letters, graceful and elegant, graceful and elegant, like beautiful flowers and poets.
5. Huang Daozhou is the representative of this realm in lower case letters. This aesthetic realm pursues a kind of masculine beauty, which is steep and majestic. This aesthetic realm, with its gentleness and boldness, elegance and boldness, represents the typical calligraphy style of the Northern School. Take a look at Huang Daozhou's lower case letters. The stippling is heavy, dense, odd, square and merciful.